Phil 11.13.18

Sent Wayne a note to see if he knows of any online D&D research. My results are thin (see below)

Nice chat with Aaron about mapping in the D&D space. We reiterated that the goal of the first paper should be able to do the following:

map a linear dungeon

map the belief space adjacent to the dungeon (PC debates to consensus on how to proceed)

map the space in an open dungeon

map the belief space adjacent to an open dungeon

Additionally, we should be able to show that diversity (or lack of it) is recognizable. A mixed party should have a broader lexical set than a party of only fighters

We also realized that mapping could be a very good lens for digital anthropology. An interesting follow on paper could be an examination of how users run through a known dungeon, such as The Tomb of Horrors to see how the map generates, and to compare that to a version where the names of the items have been disguised so it’s not obvious that it’s the same game

Ordered these books. There doesn’t seem to be much else in the space, so I’m curious about the reference section

Games and other playable forms, from interactive fictions to improvisational theater, involve role playing and story—something played and something told. In Second Person, game designers, authors, artists, and scholars examine the different ways in which these two elements work together in tabletop role-playing games (RPGs), computer games, board games, card games, electronic literature, political simulations, locative media, massively multiplayer games, and other forms that invite and structure play. Second Person—so called because in these games and playable media it is “you” who plays the roles, “you” for whom the story is being told—first considers tabletop games ranging from Dungeons & Dragons and other RPGs with an explicit social component to Kim Newman’s Choose Your Own Adventure-style novel Life’s Lottery and its more traditional author-reader interaction. Contributors then examine computer-based playable structures that are designed for solo interaction—for the singular “you”—including the mainstream hit Prince of Persia: The Sands of Time and the genre-defining independent production Façade. Finally, contributors look at the intersection of the social spaces of play and the real world, considering, among other topics, the virtual communities of such Massively Multiplayer Online Role Playing Games (MMORPGs) as World of Warcraft and the political uses of digital gaming and role-playing techniques (as in The Howard Dean for Iowa Game, the first U.S. presidential campaign game).

The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann’s Joseph and His Brothers, J. R. R. Tolkien’s Lord of the Rings, Marvel’s Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin’s earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

The story base interpretation is subjectively summarised and segmented from the first-person viewpoint. However, we often need to objectively represent an entire image by integrated knowledge. Yet, this is a difficult task. We proposed a novel approach, named the synthetic evidential study (SES), for understanding and augmenting collective thought processes through substantiated thought by interactive media. In this study, we investigated the kind of data that can be obtained through the SES sessions as interpretation archives and whether the database is useful to understand multiple story timelines. For the purpose, we designed a machine-readable interpretation data format and developed support systems to create and provide data that are easy to understand. We conducted an experiment using the simulation of the projection phase in SES sessions. From the results, we suggested that a “meta comment” which was deepened interpretation comment by the others in the interpretation archives to have been posted when it was necessary to consider other participants’ interpretation to broaden their horizons before posting the comment. In addition, the construction of networks to represent the relationships between the interpretation comments enabled us to suggest the important comments by using the degree centrality.